Class mobility

Classes have been studied under five classifications and similarly castes have classified under eight categories and both are socially viable. Absolute mobility has been used to study intergenerational social mobility and after allowing for structural changes, relative mobility has been analyzed by using odds ratio. Finally to study the effect of castes/community on social mobility logistic regression have been used with access to salariat class destination as dependent variable and class origins and castes as independent variables.To look t the trends over time, five year birth cohort data have been used with focus on father's occupation to avoid any impact of life-cycle process. Since India has gone through various social economic changes over years, like a capitalist country it is expected to become more open with greater equality of opportunities after liberalization of post 1980s. Therefore, equality of opportunity should rise along with a rise in absolute mobility. Discussion t o patterns of intergenerational mobility of men and women is limited only to paid employment.Paper pointed out that proportion of Indian labour in trade, manufacture and services has risen but the largest workforce participation still remains in agriculture. There has been an increasing room at the top and agricultural workers and farmer's participation has declined over time. More women as compared to men remain in agricultural occupations. Also, the occupational change has been there prior to liberalization. Therefore, we do not see any impact of modernization in the changing occupational patterns.Crosstabs of NES data between classes of father and respondent clearly shows a stable intergenerational society for both men and women. A trend analysis of absolute mobility shows decreasing upward mobility and increasing downward mobility as opposed to our hypothesis. Trends in inequality of opportunity calculated by using odds ratio and then by log linear model (appropriate way to test for increasing fluidity) shows a clear pattern of increasing inequality of opportunity both in agriculture and informal sector but grater in farming sector.A higher odds ratio of armer: salariat than manual: salariat ratio points out some sectoral barriers in addition to class barriers. Also, the movement between farming and salariat Jobs is harder for women. Overall there has been little demonstrable increase in equality of opportunity in Indian society. When the impact of castes was analysed is was seen that by using the logit regression and recoding castes in eight distinctive categories no clear trend could be observed for both men and women. Rather the father's class nas been a strong determining tactor tor access to salaried class destinations.Surprisingly India which is a caste based society and policies of reservation are also based on castes, it is the class which determines the upward social mobility. Caste reservation does not seen to have benefitted the SCS and STs as m ight have been hoped. CRITIC The paper in the beginning explained various modernization theses and asking research questions based on demand and supply side issues. It was said that we explore these various possibilities in remainder of the chapter. But the whole focus was concentrated only on class and lastly caste analyses.Competitive market, formalized recruitment procedure and equality of condition were not incorporated as results of modernization as per my understanding. I am not aware though if such a method is possible. Secondly, not undertaking the marital social mobility of women has been considered a limitation in the study but since the paper looks at the social mobility in terms of access to salarit Jobs, marriage of a women to a higher class individual than her father does indicate a net upward social mobility of her living tandard but not her chances of getting a better Job.Even if this argument doen't sounds good then a social mobility through marriage is not in any c ase an indicator of modernization of society. Lastly, in the birth cohort method, one has to self calculated roughly where exactly the period of liberalization has been shown on the table or graph. Since our focus is on modernization, had there been a mention of period of liberalization along the birth years it would have been easy to anlyze the changes before and after the liberalization.

On the Subway Essay

â€Å"On the Subway† is a poem by Sharon Olds that unfolds â€Å"to convey a sense of fear, ambiguity, inequality, and inner city tension. The situation is set by the title, and this makes all that follows clear as far as its meaning is concerned.†(para. 1). Ms. Olds tells the story through the narrator who while riding the train observes that she is alone with a young black boy. â€Å"While nothing really happens beyond the two observing each other, the poem still manages to shed light to inequality, prejudice, and stereotypes.†(para 1). The poem begins with the narrator telling the story of the two of them alone on the subway train through her observations and predisposed prejudices. There are many Symbolic references about class, race, and inequality made throughout the story. As the story begins the first symbolic reference unfolds as the narrator describes the boy’s feet and his shoes. As she goes on to further describe the boy’s shoe laces we get the sense of the imbalance of equality of the races. While the sneakers themselves are black it is the laces that are white and form a complex pattern which is referred to as intentional scars. The author uses the white laces to symbolize the imbalance of power that the young boy has had have more power to face as a minority. They also suggest that since the laces keep the shoes on or together that they. The laces could also be symbolic of the markings left on the boys’ ancestors back in the day when they were slaves and had received a beating thus bearing the scars of the beating. The woman also uses the boy’s clothing to further symbolize the stereotypes and the injustices between the races. She is fearful of the boy because of the type of clothing that he wears. She feels that because he is dressed in clothing that is considered to be more urban and open that he was dressed like someone who would be a mugger. The woman who was clothed in fur was covered. The woman is fearful of being attacked because she is more affluent and therefore more of a target. Both the boy and the woman are sizing each other and without really knowing one another they both have their own feelings about each other. The boy knows that since the woman is a white woman she is covered in fur and therefore she has more affluence and power. The woman is truly fearful of the boy because of her own preconceived thoughts about race. She cannot look passed what the boy looks like woman is uncertain of the boy. She looks at him with fear that he can attack her at any moment because of he r affluence. The author continues to discuss the separation of races by discussing how much easier it is to be a White person than it is to be an African American. The poem indicates that being white offers privileges that being African American does not. It is the color of her skin that has provided her with better opportunity and separated her from the boy on the train. This poem is relevant today as it exemplifies stereotypes and inequalities that are still present in our society. The woman on the train represents wealth and power. The boy represents missed opportunity and poverty. The woman on the train feared that she was going to be attacked by the boy on the train simply because of past experiences and making judgments on someone simply based on the color of his skin and how he was dressed. Chances are that had the boy on the train been white the woman on the train would not have the same fear or feel the same way. Even in our society today we have people who are still quick to make rash judgments while not having all the facts or making a decision based on past experience. I also think the poem does reference some compassion between the boy and the woman by the end of the poem as the woman mentions that both races can be misunderstood and that both of them can get hurt or be harmed by being judged. They each have struggles that they have to overcome.

Muar 211 Study Guide

MUMedieval Period * Hildegard von Bingen: Columba aspexit * Genre = plainchant * Text = sacred, Latin * Texture: monophonic throughout * Performance practice: responsorially, that is, the performance alternates between a single singer (soloist) and the larger choir, which â€Å"responds† * The piece becomes more melismatic as it continues. * Ensemble: female vocal soloist, female vocal choir, droning instrument that plays out one note (the final) * Guillaume da Machaut: Dame, de qui toute ma joie vient * Genre = chanson (general term for French secular song) * Text = vernacular (language French), secular Texture = non-imitative polyphony (four voices with four independent melodies that never repeat the music of another voice part) Ensemble: a cappella Renaissance Period * Guillaume Dufay: Ave maris stella * Fauxbordon style: a form of harmonization in three parts in which the second line follows the top line a perfect fourth below. The voices are often â€Å"moving in parallel thirds,† a relatively new sound and texture at the time. * Based in the Dorian mode Homophonic/homophonic texture (multiple parts that move mostly in homorhytm, therefore creating a succession of chords) * The top line is an elaborated form of a Gregorian chant melody ie the top line is a cantus firmus. Latin * Genre: Hymn (harmonized hymn) b/c it is sacred and the same music is repeated over and over for changing verses of that sacred text * Josquin Desprez: Kyrie from Pange lingua Mass * Genre: Kyrie from a late Renaissance Mass * Texture: 4 part polyphony; imitative polyphony * Ensemble: a cappella; 4 part choir; SATB Text: Ancient, sacred Greek prayer (only part of Mass in Greek); First part of Mass Ordinary Baroque Period * H enry Purcell: â€Å"Thy hand Belinda† from Dido and Aeneas, Act III final scene. * Libretto is an abbreviated English-language adaptation (by librettist Nahum Tate) of an episode from the Aeneid, the Latin epic written by Virgil in the 1st century BC (between 29 and 19 BC) that tells the legendary story of Aeneas, a Trojan who traveled to Italy, where he became the mythical ancestor of the Romans. Aeneas and his men are shipwrecked at Carthage on the northern shore of Africa.Dido, the Queen of Carthage, and Aeneas fall in love, but Aeneas cannot forget that the gods have commanded him to continue his journey until he reaches Italy (where it has been foretold that he will found a great empire, Rome). A much as he hates to hurt his love, the Queen Dido, he knows that he must leave and continue his quest. He leaves, as heroes must. * In her grief, Dido decides she cannot live with her grief and slashes her wrists. She then sings the moving recitative â€Å"Thy hand, Belinda,â⠂¬  and the aria that follows (a Lament aria), which is the culminating point in the opera, followed by a final chorus * Homophonic Antonio Vivaldi: Violin Concerto in G, La stravanganza, op. 4 no. 2, first and second movements http://youtu. be/WftbiFpZszU * First movement: Spirito e non presto (spirited but not presto) The first movement of this work is a RITORNELLO FORM: the music played by the orchestra appears both at the beginning, end, and several times during the movement. This ritornello is alternated with the SOLOS, played by the featured violin soloist. * Second movement: Largo (slowly)This movement is a THEME & VARIATIONS FORM, which means that the melody (theme) heard at the beginning is followed by alternative versions of that same melody. Johann Sebastian Bach * Brandenburg Concerto No. 5, first movement http://www. youtube. com/watch? v=49IOKnhX0Sk&feature=youtu. be * Genre =concerto grosso, since the work requires three soloists – the flute, violin & harpsich ord – plus the orchestral accompaniment * First movement: Allegro. Form of 1st movement = ritornello form (the music played by the orchestra appears both at the beginning, end, and several times during the movement) * Polyphony and homophony at the same time * Imitation in the soloists Fugue 1 in C Major from The Well-Tempered Clavier, Book 1 http://www. youtube. com/watch? v=RLZd_36puXAFugue begins at 2:09 * Is a collection of solo keyboard music. He first gave the title to a book of preludes and fugues in all 24 major and minor keys * Fugue (second half) of this work is part of the required listening for Exam #1. A fugue needs to be able to play more than one note at a time * Imitative polyphony (also called imitative counterpoint) in the work.There is no accompaniment Cantata No. 4, Christ lag in Todesbanden, nos. 4, 5 & 8 http://youtu. be/aVaV0spMDVg * Bach based this cantata on the words and music of a chorale composed by Martin Luther in 1524. Luther’s chorale me lody was based on an Easter hymn from the 12th century. Bach used the melody of Luther’s chorale in every movement of his cantata as a cantus firmus. Text is proper, for certain times of the year * Sacred Cantata * 0:00-1:55 4th movement: tenor aria, â€Å"Jesus Christus, Gottes Sohn . . . Note the texture of this movement: the tenor voice and the busy ‘obbligato’ violin part both move rather independently over the accompaniment provided by the basso continuo. Therefore, the movement is basically homophonic, because it has an accompaniment, despite the fact that there are multiple ‘upper parts’ (the tenor voice and violin). The texture of High Baroque music (1700-1750) can often be complicated in this manner—a combination of both polyphony (in the upper parts) and homophony (because of the accompaniment). * 1:59-4:24 5th movement: SATB quartet w/ continuo, â€Å"Es war ein wunderlicher Krieg.The texture of this movement is much more polyphon ic than the first, and the four vocal parts (soprano, also, tenor and bass) ‘imitate’ each other contrapuntally; in other words, the texture of this movement is ‘imitative polyphony. ’ Note also that the instrumental parts ‘move parallel to the voice parts’ (meaning that the instrumental parts play the exact same thing the three vocal soloists are singing); therefore the instruments take part in the polyphony * 7:04-8:23 8th movement: chorale with orchestra, â€Å"Wir essen und leben wohl . . † This final movement is set very simply, in a purely homophonic texture. All of the voice parts move in homorhythm—i. e. , they all move to the same rhythm nearly all of the time. However, they are not singing the same part, but are singing different pitches at the same time, thereby creating a series of chords. The continuo players (the instrumental accompaniment) follow along with the voices, adding there timbres to the overall sound. * Ba ch’s sacred cantatas often end with a homophonic presentation of the chorale melody: i. e. in a presentation of a harmonized chorale. The final movement is set in this simple style so that the congregation could participate in singing the final movement. All of the earlier movements are much more complicated, and would have been performed by professional singers employed by the church. * Note regarding this work on Exam #1: You need to be able to identify the texture and subgenre (aria, SATN quartet, and chorus) of each movementGeorge Frideric Handel * La giustizia† from Julius Caesar â€Å"There were Shepherds† and â€Å"Glory to God† from Messiah * http://youtu. be/SZN6VmKBxPQ * 0:00 – 0:10 secco (‘dry’) recitative; the continuo accompaniment here is very sparse and sometimes completely absent. * 0:10 – 0:29 accompanied recitative (entire orchestra accompanies) * 0:30 – 1:32 secco recitative again (continuo only again; c ello and harpsichord) * 1:13 – 1:32 accompanied recitative (entire orchestra); note that this portion goes straight into the following choral number. * 1:33 – 3:23 â€Å"Glory to God† chorus TERM LIST Medieval Period: 450-1450 Sacred Culture: anything intended to serve as part of worship. Earliest musical manuscripts contain sacred music exclusively because only members of the church was literate, peasants couldn’t write down secular music * Secular Culture: everything else (ie not serving as a part of worship, including art for entertainment only) * Liturgy (as in Roman Catholic liturgy): the system of prayers and worship of a particular religion, dictates how to worship, when to worship, what songs to sing and when.Considered a higher authority * Plainchant / chant / Gregorian Chant: Text: Latin (language) and SACRED (function) * Nonmetrical (ie rhythmically free, no discernible beat or meter) * Based on church modes of the Medieval Musical/Theoretical System * Usually performed with a MONOPHIC TEXTURE (texture: how many parts and what is their relationship), although other practices are possible * Usually performed A CAPPELLA (type of ensemble) * Metrical (has a discernable beat) /Nonmetrical (has no discernible beat or meter) * Divine Office Mass: relatively private worship service in convents and monasteries * Mass: large worship service for all Proper of Mass (or Mass Proper): of material into those parts of the text that always remain the same * Ordinary of Mass (Mass Ordinary) material that change according to the particular day in the liturgical year. * Kyrie (a simple prayer), Gloria (a long hymn, beginning), Credo (A recital of the Christian’s list of beliefs, beginning), Sanctus (another, shorter hymn), Agnus dei (Another simple prayer) * Church modes (Medieval Modes): the basis of the harmonic system. A collection of pitches that are organized within a piece of music to emphasize one particular pitch, called the final.These pitches also represent a collection of specific intervals * Responsorial Performance: a manner of performing chant in which a solo singer or leader performed verses of the text and the entire congregation answered each verse with the following verse or with a response or refrain. Common responses were amen and hallelujah, but others were more expansiveu * Hildegard von Bingen (1098-1179): was well known in her day and her musical works poetry and other writings were widely copied and disseminated. Visionary, mystic, and prolific writer.CONVENT ABBESS: founded her own convent in Rupertsburg (eastern Germany). Her visions and prophecies made her famous throughout Europe, also known for her writings on science and music, very well educated and powerful woman in her time * Drone: a single two note chord running continuously. Found in Hildegard von Bingen’s Columba Aspexit * Also in the 12th C * Earliest manuscripts of secular music: musical settings of original poetry written by learned men and women (courtiers, monks, nuns, priests) for entertainment in royal courts.Composers were known as troubadours, trouveres, or minnesangers. These secular songs were notated monophonically, but were probably performed with improvised instrumental accompaniment. The poetry of these songs is most often in the vernacular language of the court. Songs dealt with courtly love/chivalry, as well as war and some deal with topics of sexual love * Earliest manuscripts of instrumental music: nearly are all courtly dances such as the Estampie or Salterello, notation suggests a regular rhythmic organization: metric or metered.These manuscripts were created by literate musicians, although dance music was often performed by jongleurs * Earliest manuscripts of polyphonic music: organum the earliest genre of medieval polyphony music (the simultaneous combination of two or more melodies) * Organum: the earliest genre of medieval polyphony music (the simultaneous combination o f two or more melodies) * Troubadour (south of France)/trouvere (in the north)/Minnesanger (Germany): noble poet composers of court songs who also performed the songs themselves.Among them were kings, prices, and even kings. Troubadour society (but not trouvere) allowed for women composers and performers. Literate classes of people (typically are courtiers). Not for public * Jongleur: popular musicians – Some noble songwriters only penned the words, leaving music to be composed by jongleurs. Popular musicians at the time, the music is relatively simple. Jongleurs played instruments while trouveres sang.Musicians of common status, typically illiterate, who traveled played a memorized repertory, improvising, getting paid when possible, occasionally organizing into guilds * Courtier: someone at a royal count, music for elite class * Chanson: French for song, a genre of French secular vocal music * Cantus Firmus: the way to create new sacred music, in the medieval era, a cantus f irmus was a pre-existing plainchant melody (therefore a sacred melody setting a sacred text) that has been recycled into a new composition ie a cantus firmus is chant melody that serves the basis for new musical creation * Notre Dame School: school of polyphonic music, not actual school setting, but they did influence one another. Group of composers working at or near the Notre Dame Cathedral in Paris in late 12th and 13th centuries. * Ars antiqua/ars nova: contemporary terms for the â€Å"old technique† of the 13th century organum and the new polyphonic music of the 14th C. * Guillaume da Machaut (c. 1300 – 1377): was cleric and courtier, a widely celebrated poet and musician. Active at a variety of courts, including the Court of Charles, Duke of Normandy, who later became king of France.Widely known as the greatest musician of his time; renowned ever long after his death – the foremost composer of the ars nova style: the new style of complicated polyphonic mus ic in the late 14th C. This term was used to contrast the new music with the older Notre Dame polyphonic music of the 13th C. known as the ars antiqua * Notre Dame Mass (significance): composed the earliest extant complete setting of the mass ordinary. The five individual parts are based on some of the same borrowed and original musical material so they are musically liked to one another. Earlier complete settings were no doubt created as well, but this is the oldest to survive intact, due to its popularity and wide dissemination Renaissance Period: 1450-1600 Humanism: an intellectual movement and ethical system centered on humans and their values, needs, interests, abilities, dignity, and freedom, emphasizing secular culture in a rejection of the sacred * Moveable type printing press c. 1450: music printing soon followed, greatly expanded affordable access to vocal and instrumental music of all genres, both sacred and secularLutheran Reformation early 16th C: Martin Luther. The sep aration of protestant Christian sects from the Roman Catholic Church leads to a great diversity in post 1500 sacred music (not all sacred music is Latin) * Counter Reformation, late 16th C. : The Roman Catholic Church responded to the revolt led by Martin Luther by reforming church practices in the spirit of â€Å"true Christian piety. This was the RCC’s attempt to regain the loyalty of its people, as well as regain the loss of power and wealth that had resulted from the â€Å"split† of the church (MUSIC REFORM) * Council of Trent (musical significance): issued general recommendations in favor a pure vocal style that would respect the integrity of the sacred text. (The composer considered to best uphold the reformed ideal of church music was Giovanni Pierluigi da Palestrina)Fascination with and study of Greek and Roman antiquity: once the concern of medieval theologians and scholars only—becomes more common among the ever-larger literate classes; the architectu re, visual arts, poetry, and music of the renaissance demonstrates this influence. Word Painting: the music itself is composed in such a manner that the sound of the music reflects the meaning of the text (words such as fly and glitter were set to rapid notes, up and heaven to even higher ones) * Point of Imitation: a brief passage of imitative polyphony usually using a single musical motive (based on a single theme, or on two used together (used by Josquin Desprez) * Guillaume Dufay (c. 1400-1474): Born and received early musical training in northern France. However, he spent more than 25 years in Italy, as a musician and composer at the courts of various powerful families, or in major cathedrals, including the Papal Chapel in Rome.Dufay composed music in all the sacred and secular genres common to his day— masses, motets, Magnificats, hymns, and chants in fauxbordon style (see below), as well as secular songs of all types—using a rich musical language that combined t echniques of earlier masters (the Ars Nova) with the new techniques, textures and textual sensitivity of the emerging Renaissance aesthetics. Fauxbourdon passage in Dufay’s harmonized hymn, Ave maris stella * Harmonized hymn: it has a sacred text, and (2) the same music is repeated over and over for changing verses of that sacred text. Works intended for congregational singing often use this simply form. * Josquin des Prez (1440 – 1521) Born and received early musical training in northern France, moved to Italy where he served in several courts. He composed both sacred and secular music, setting both sacred texts and contemporary poetry. Achieve international fame; known to Martin Luther as the greatest living composer.Returned to northern France in his late life * Claudio Monteverdi (1567 – 1643): the most important musician in the late 16th and early 17th century Italy. Wrote nine books of madrigals, composed operas. Composed high Renaissance and early Baroque music, was a transitional composer who bridged between these two musical style periods writing in and epitomizing the styles and genres of both periods. * Madrigal: a polyphonic secular vocal genre of the Renaissance, a short composition set to a one stanza poem – typically a love poem, with rapid turnover of ideas and images). The most important secular vocal genre of the late renaissance and early baroque.Madrigals were settings of secular poetry on a variety of topics in the vernacular language (originally Italian). Were a genre of â€Å"high art† meaning it was intended for the entertainment of royalty, commoners would rarely be exposed to such music * Giovanni Palestrina (1525 – 1594): worked as an organist and choirmaster at various churches including St. Peter’s Basilica in Rome, Pope Julius II appointed him to the Sistine Chapel Choir, wrote over 100 settings of he Roman Catholic Mass, Palestrina’s music was known to later generations, mos t importantly Bach who considered it the epitome of sacred music in the â€Å"old style,† was considered the best composer to uphold the reformed ideal of church music Baroque Period: 1600-1750 Monody: literally ‘one song’ characterized by a solo vocal melody with instrumental accompaniment * basso continuo / continuo / figured bass : one, two or more instruments that provide an accompaniment for one or more vocal or instrumental soloists, reading from a musical part that is called the figured bass, because it is notated as a single line of music (the base line) over which numbers (the figures) indicate the other notes to be played on.At least one of the basso continuo instruments plays the bass line as written by the composer, while the other (or others) improvises chords on that bass line * In the Baroque and early Classical periods, the keyboard instrument in the basso continuo was almost always the harpsichord * ‘continuo group’: the instrumentat ion of the basso continuo (also called the continuo r the continuo group) was never specified in the music. Musicians and composers of the period were very practical with regard to performance practices. Therefore, their music was designed to accommodate a wide variety of performance situations * to ‘realize a figured bass’ * improvisation * Ornamentation: the practice (both vocal and instrumental) of spontaneously adding (improvising) short decorative flourishes to the written music during performances). These additional notes are generally called ornaments or embellishments * Score (as in musical score): a piece of music that shows all of the parts in a given piece, all together on each page: also called a full score.Some small ensemble music commonly appears in such a format, but it is not practical for larger ensembles. Full scores of large ensemble works are generally used only by conductors and for study * Part (as in printed musical part): a piece of music that s hows only one portion of the overall performing ensemble, usually just the music of a single instrument or vocalist * Opera (time & place of its invention): Opera was originally created in the wealthy Italian courts of Florence in approximately 1600 by a group of intellectuals; poets and musicians who were attempting to recreate the ancient Greek dramas, which they determined had been sung in a very declamatory (i. e. , speech-like) style. * Two types/subgenres of song in opera:Recitative: a song that imitates and rhythms and pitch patterns of natural speech; usually carries the action and dialogue of an opera; used to forward the action of drama. Not very lyrical and melodious; sounds more like speech or recitation. Good for expressing text, in which the meaning is important, usually does not have long melismas or repetitions of texts. Rhythmically free or nonmetrical. Usually accompanied by only one or two instruments, the basso continuo, which closely follows the singer * Aria: a song for solo voice, often with a larger ensemble playing the accompaniment. Strongly metrical (ie has a strong and recognizable beat).A melodious or lyrical song which expresses an outpouring of emotion, thereby developing the character of the person singing the aria; very lyrical often epeating fragments of the text and containing melismas that ‘show off’ the technical and expressive abilities of the star singers * Both recitatives and arias were also composed as ‘stand alone’ works: as works that were performed alone without being part of a larger work * Libretto / librettist: the libretto is story or text of an opera, written by the librettist almost never the composer himself, but rather someone with literary and poetic skills. Operas were intended as entertainment and use secular text in a vernacular language. The subject matter of librettos vary widely, the earliest operas drew their subject matter from the myths, dramas, and histories of ancient Gr eece and Rome. * Castrato: Male singer castrated before puberty in order to retain the pre-adolescent high vocal range. The most important category of vocal soloists in opera (and other vocal genres) during the baroque, although most of them were employed by Italian churches.Many leading operatic roles for men—whether hero or romantic lead—were written for castrati. Castrati also commonly performed women’s roles. The â€Å"rock stars† of their day, the most successful castrati enjoyed great popularity and financial reward. We know many of their names, careers, and personal exploits today. Today, the operatic roles and other vocal parts originally composed for castrati are sung by (1) women or (2) countertenors or falsettists (male sopranos). * Overture (as in opera): the instrumental piece (for the orchestra alone) that introduces an opera. It is the first thing you hear at the beginning of the opera, often before the main opera characters come on stage.O vertures often contain musical themes from the vocal pieces to follow, sort of ‘foreshadowing’ the action of the opera * Traits of the baroque orchestra: During the Baroque Era that our modern conception of the orchestra, as a group centered around a group of bowed strings, was first developed. However, baroque orchestras were much smaller than the orchestras used in later art music, usually included only 10 to 25 people, and often consisted of nothing but bowed strings and perhaps a harpsichord or organ. Wind instruments (brass and woodwinds) could be used and often were, including a limited array of percussion, but the bowed strings were the CORE of the orchestra from its earliest inception. Henry Purcell (1659-1695): Often referred to as the first great English composer of international acclaim. Worked as a singer, organist and composer in the courts of Charles II (reigned 1660-85), James II (r. 1685-88), and William and Mary (r. 1689- 1702). Purcell’s instrum ental works rank among the finest musical achievements of the middle Baroque. * Lament / lament aria: A poem (or, when set to music, a song) expressing grief, regret or mourning. As a musical subcategory of recitative and aria, it was very popular in the 17th century and after. * Basso ostinato / ground bass: Baroque lament arias often feature a basso ostinato (also known as a ground bass), which is a bass theme that repeats over and over.The basso ostinatos or ground basses of lament arias typically consists of a descending, chromatic figure (often descending from tonic to dominant in the key of the piece) in a slow triple meter. * Recorder: * Harpsichord * Lute (archlute) * Organ viol (viola da gamba) * MULTI-MOVEMENT WORK: a musical work under one title that is actually several separate musical pieces that are always played together in the same order. Each of the individual pieces that comprise a multi-movement genre is called a MOVEMENT. It is typical that the various movements of a multi-movement instrumental work all employ the same ensemble, although there are some exceptions.On the other hand, large-scale vocal/instrumental genres (such as operas, cantatas and oratorios) often contain movements that contrast with regard to the ensemble used. The individual movements with any multi-movement genre are designed both to complement and contrast with one another with regard to key, tempo, and musical material. * Sonata * Trio sonata: multi-movement genre for TWO instrumental soloists and basso continuo. Be careful about this one, because the ensemble can vary widely. Since the basso continuo part might be played by one, two or three people, the total ensemble of a trio sonata could include from 3 players (2 soloists + 1 continuo player) to 5 players (2 soloists + 3 continuo players) or even more.Solo concerto: multi-movement (usually three but not standardized in the baroque era) genre for a single instrumental soloist (of any type) and orchestra (including basso continuo) * Concerto grosso: multi-movement (usually three but could be more) genre for two or more instrumental soloists and orchestra (including the basso continuo). Many such works were written for two violinists and basso continuo (the solo group) accompanied by a larger group (the orchestra, which usually also consisted of strings only). Part of the interest in such works is the exciting contrast of the smaller solo group with the larger orchestra. During the Baroque Era, concerto grosso (concerto grossi is the Italian plural) were NEVER titled Concerto Grosso.They were usually titled simply ‘concerto,’ and are therefore difficult to differentiate from a solo concerto by title alone. * Suite / dance suite / baroque dance suite: a multi-movement genre for orchestra without any particular featured soloists. Usually each movement is named after and is an example of a particular dance type, although some movements might have other inspirations and be unrelated to dance. SUITE, by definition, means a multi-movement collection of dances. Dance suites could be used for dancing or simply as concert works for listening enjoyment. * Multi-movement instrumental work for orchestra alone (in baroque also w/ continuo group) * The number of movements was not very standardized during the Baroque period.Some examples of the genre have as many as nine (for instance, Handel’s Suite No. 2 in D major, popularly known as part of the Water Music). * The individual movements are often evocative of DANCE TYPES and have dance-related names (Minuet, Bourree, Gigue, Hornpipe, etc. ), although there are also other types of names as well (especially ‘Air,’ a title that implies a lyrical, slow piece with song-like qualities). * The prominence of this genre during the baroque period highlights the importance of dance during the period. * Fugue * An entire piece or distinct subsection of music that employs imitative polyphony in a strictly prescribe d manner.A fugue can be a genre (if an entire piece or movement contains nothing but that fugue), but it is also possible for a subsection of a piece to be described as a ‘fugue’. * Fugues may be written for any instrument capable of polyphonic solo playing, or for any combination of voices or instruments, or instruments and voices together. * The first musical theme of a fugue is called the SUBJECT. After its first appearance in a single voice or part, you will then hear that same melody again and again in the other parts. Not really a genre because it doesn’t tell you the ensemble. * J. S. Bach’s music is generally regarded as one of the greatest artistic achievements of the Baroque Period.At the end of his life, however, his musical style was rather old fashioned, for the newer style of the early classic period was already being composed by a number of younger composers, including Bach’s own sons. These younger composers of the new classical styl e were not sympathetic to complex polyphony, preferring a more simple, homophonic texture. Ritornello form: the music played by the orchestra appears both at the beginning, end, and several times during the movement. * Theme & variations form: the melody (theme) heard at the beginning is followed by alternative versions of that same melody. * Johann Sebastian Bach (1685-1750) * Must know J. S. Bach’s death date (1750) marks the end of the Baroque Period.German, Lutheran composer and one of the most influential figures in western music history. Born into a family of musicians. Eventually known as a virtuoso organist (expert of construction and maintance). * At age 23, J. S. Bach was appointed his first important position: court organist and chamber musician to the Duke of Weimar. He later worked for five years at the court of the Prince of Anhalt-Cothen, where he wrote some of his most famous instrumental works, including The Brandenburg Concertos. * J. S. Bach also composed h is very famous suites (a multi-movement collection of dances) for unaccompanied violoncello (i. e. , cello) during his time working for the Prince of Anhalt-Cothen. * At age 38 J. S.Bach was appointed his most prestigious position when he became CANTOR (i. e. , the music director) at St. Thomas Church in Leipzig * Cantor: music director, head of choir * Sacred Cantata (as composed by J. S. Bach between 1700 and 1750) * A fairly large-scale, multi-movement vocal/instrumental genre, typically consisting of six to eight movements, used in the worship services of German Lutheran Churches. * Sacred cantatas are NOT a dramatic presentation like opera; a cantata (whether sacred or secular) features no plot, acting, costumes, stage movement, etc. ), although it is divided into choruses, arias, recitatives, duets, and instrumental pieces etc. just like an opera or oratorio.The ensemble of a sacred cantata consists of a smallish choir (12 or so), vocal soloists, an orchestra (10-20 or so) and an organ, although larger groups of singers and instrumentalists were used on special occasions (like major feast days in the liturgical calendar). * Texts are in the vernacular language (German) * Lutheran chorale * Hymn-like songs used for congregational singing in the Lutheran Church, composed in a rather simple, four-part (SATB) texture. It is a sacred genre that was (and is) sung during the worship service by the congregation along with the professional choir (the latter of whom would have performed the sacred cantata during the worship service). Many chorales date back to Martin Luther (1483-1546) himself, although new ones were continuously composed for centuries. *Chorales are STROPHIC: i. e. , each verse of text is sung to the same repeated music. * George Frideric Handel (1685-1759) * German-born composer who created numerous works in every genre of his day, including orchestral dance suites, organ concertos, and concerti grossi, but he is most remembered for his 39 Itali an-style operas and his oratorios for English audiences. * Unlike most professional musicians of his day, Handel was not from a musical family, but he studied with a local organist and composer from a young age. At 18 he worked as a violinist and harpsichordist in the orchestra of an opera house in Hamburg; at 20 he produced his first successful opera. * At 21 he went to Italy, where he further studied the Italian opera style; he also composed and successfully produced operas in Italy. * In 1710 Handel took a well-paid position as music director for Elector Georg Ludwig of Hanover, who became Handel’s patron. A friend of the arts, this patron allowed Handel to travel extensively and promote his music on the international stage. * Handel made several trips to London to produce his operas, and he eventually moved there in 1712 and remained in England for the rest of his life. * Handel became London’s most important composer and a favorite of Queen Anne.* Oratorio: Much l ike n opera, a large-scale music drama for vocal soloists, chorus and orchestra; oratorios are multi-movement works that contain arias, recitatives, duets, trios, choral numbers, and interludes for orchestra alone. * Usually based on a narrative libretto with plots and characters (one of whom is usually a narrator); however, unlike an opera there is no acting, scenery, or costumes. * Handel’s oratorios are usually based on stories from the Old Testament: for example Handel’s oratorios Israel in Egypt and Joshua. * Secular genre composed and performed for entertainment purposes; usually performed in an opera theater or other large, secular, public venue. * Da capo aria form: a specific type of ternary form (A—B—A). Antonio Vivaldi (1678-1741): The â€Å"Red Priest† Famous and influential as a virtuoso violinist and composer. Born in Venice, Italy, the son of a violinist employed at St. Mark’s Cathedral. Known as the â€Å"Red Priest† b ecause he was indeed a priest and had rather wild red hair. Worked as a violin teacher, composer, and conductor at the Music School of the Pieta, orphanage for girls. The orchestra and chorus at this school was one of the finest in Italy, and much of Vivaldi’s music was composed for them to perform. Although he composed operas and church music, he is best known for his 450 or so concertos (both solo concertos and concertos grosso; see following notes).General Terminology & Concepts Genre: a specific category of musical composition as defined by its musical characteristics or traits; for instance a Gregorian chant, a string quartet, an art song * Ensemble/medium: the instruments, voices, or anything else that makes sound and takes part in music making. A. k. a. instrumentation (but don’t forget about the voices). Some particular types of ensembles became standardized within a given genre culture and become associated with more or less specific social settings, functions , or musical styles * Range of Human Voices (Soprano, Alto, Tenor, Base) * SATB choir: defining the voices required by a chorus or choir to perform a particular musical work. Pieces written for SATB, the commonest combination and that used by most Hymn tunes, can be sung by choruses of mixed genders, by choirs of men and boys, or by four soloists. A cappella: (Italian for â€Å"in the manner of the church† or â€Å"in the manner of the chapel†) music is specifically solo or group singing without instrumental sound *Monophony/monophonic texture: a musical texture involving a single melodic line, as in Gregorian chant, as opposed to polyphony * Polyphony/polyphonic texture: musical texture in which two or more melodic lines are played or sung simultaneously * Imitative polyphony: (continuous imitation) brief usually fragments of melody (motives) are passed from voice to voice (or instrument to instrument) within the performing group, so that these motives are heard again and again within close proximity of each other making the music easier to comprehend and follow * Non-imitative polyphony: four voices with four independent melodies that never repeat the music of another voice part. Non-imitative polyphony is the ideal and most common texture in Medieval polyphonic music * Homophony/homophonic texture: music that is harmonic, chordal texture, a musical texture that involves only one melody of real interest combined with chords or other subsidiary sounds * Melody + accompaniment * Homorhythm/homorhythmic texture: a musical texture in which all of the parts move together rhythmically.Renaissance music often alternates between polyphonic passages (in which all of the parts are independent) and homorhythmic passages (in which all of the parts move together) * Two types of text setting * Syllabic: each syllable of text is set to only one pitch (syllable by syllable) * Melismatic: text setting that contains melismas; a melisma is a single syllable of te xt that is set to large groups of pitches * Pitch: a sound producing vibration that oscillates at a definite and prescribed rate of speed. Are named using the first seven letters of the alphabet (A B C D E F G) * Equal Temperament * The man made division of the octave into 12 equal intervals (measured in ? steps) * The man made division of the octave in 12 half steps (12 half steps per octave) *Equal temperament tuning Accidentals: a note whose pitch is not a member of a scale or mode indicated by the most recently applied key signature. In musical notation, the symbols used to mark such notes, sharps (? ), flats (? ), and naturals (? ), may also be called accidentals. An accidental sign raises or lowers the following note from its normal pitch, * Sharp, raises half step ? * Flat, lowers half step ? * Natural, cancels sharp and flat ? * Metrical (has a discernable beat) /Nonmetrical (has no discernible beat or meter) * Tempo: refers to the relative speed of the beat in music * Prest o: very fast * Allegro: fast * Moderato: at a moderate rate * Adagio/adante: slow * Dynamics: refers to the relative loudness or softness of the music. * Forte = f = play loudly Mezzo forte = mf = somewhat loudly (less loud than f) * Mezzo piano = mp = somewhat softly (less loud than mf) * Piano = p = play softly * Crescendo = < = to become gradually louder * Descrescendo = > = to become gradually softer Recap of Genres Studied * Chanson: French Secular Song * chorale (Lutheran chorale): * concerto grosso * fugue * hymn / harmonized hymn * madrigal * Mass * motet * opera * oratorio * organum * plainchant / chant / Gregorian Chant * sacred cantata * solo concerto * sonata (solo sonata) * suite / dance suite / baroque dance suite * trio sonata Sinfonia: in the 18th Century sinfonia and overture were used interchangeably. Later on the symphony was a genre was created

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Compare and contrast - Essay Example tly, Barbara Ehrenrich’s piece, â€Å"Serving in Florida† relates a very personal tale of the hardship that an individual seeking to earn a living on minimum wage faces. Taking this experience on as a project, Ehrenrich soon realizes that in order to afford the rent, utilities and fuel that will take her back and forth to her minimum wage job she will need to take on another minimum wage job to break even. Although it would have been possible for the writer to engage the reader on a purely economic level of understanding, Ehrenrich’s piece is instead deeply emotional as the reader comes to an appreciation of the fact that the current system creates a virtual trap by which people are forced to work themselves to an early death; just as a function of â€Å"breaking even† (Ehrenrich 9). As Ehrenrich notes, this is in stark contrast to the sacrifices that previous generations have made in order to save and slowly lift themselves out of poverty. Moving on to the second article, entitled â€Å"Culture of Success†, the reader can note that the personal tone that Ehrenrich engages is missing. Instead, the focus is placed on the fact that the labor market is flooded with college graduates; which in turn reduces the incentive for an individual to saddle themselves with mountains of debt that a college degree necessarily creates. The hardship, as the article implies, is the fact that the college degree no longer guarantees economic success for the future aspirations of the individuals that receive it. Instead, a saturated job market is proliferated by individuals with college debt and rather useless college degrees; creating a situation in which the incentive to gain higher education has all but evaporated (Brinck 4). Another differentiation that is impacting upon the job market has to do with the fact that fewer and fewer minorities are making the decision to invest the time and money that is required for a college degree . Reviewing this decision from the standpoint

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Musclar Sclerosis Research Paper Example | Topics and Well Written Essays - 1000 words

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Problem Solving Simulation Essay Example for Free

Problem Solving Simulation Essay Assignment:Â  Problem-Solving Simulation How did you interpret the problem? When I was interpreting the problem I was trying to look at the whole picture. When in all reality I should have been breaking down the problem into sections so I could concentrate on the issue at hand. I will have to admit that shook my head allot over this because it was hard to look outside the box, as one might want to say. The goal was to get all three animals to the other side of the river without any of them being harmed by one of the other animals. The cat would eat the mouse if left alone, or the dog and the cat would fight if left alone. The strange part was the mouse and the dog could not be left on the other side of the bank either. What strategy did you use and how did you evaluate your progress? The strategy I took was that to find most common problem between the three animals. When I was evaluating the possibilities of getting them all three over the river it was overwhelming at first. I was able to attain that the main problem was the cat. The cat did not get along with the dog, nor did it get along with the mouse. The only obvious thing to do was to get the cat across the river first. This way the dog and the mouse were safe on the other bank. My problem was once I got the cat across the river and came back for one of the other animals I soon realized that either one I took next would cause a problem with the cat. Did you encounter any obstacles while solving the problem? I was upset that I could not get my mind to look outside the box. There had to be a reasonable solution to this problem. A few obstacles were encountered along the way while I was trying to solve this mystery. I would take the cat over first which was fine, because the dog and mouse was okay while on the original side of the river. As soon as I would take over one of the other animals with the cat all heck broke loose due to the cat not getting along with either the dog or the mouse. I knew there had to be an easier answer to this problem. After thinking carefully, I took the dog over first then the cat and mouse fought and then when I took the mouse over first then the dog and cat fought. It almost seemed impossible. Were you aware of this thought process as you worked through the problem? Then after careful consideration and the knowledge I had that the cat had to be the instigator in all this fighting I knew for sure that the cat had to go first. After reading the assigned reading to this issue I knew the answer was outside the box. I will admit that I even placed this task to my mom just to see if she would be as stumped as I was. Now as a recap; I knew the cat was the bad guy in this scenario, so the problem was how would I get the other two over there safely? Then it came to my mom and me! Wow what a revelation it was. Yes the cat was the mean one, and could not be left alone. So, you had to send the cat over first and return raft for another animal. Once you had the other animal over to the bank you had to put the cat back onto the raft and leave him alone on the first bank. This gave you the time you needed to get the other animal over to the other side. So in all reality the cat was the first one to cross over to the other side and the last one to be left on the first side. I do have to say this was a mind stretcher of an activity. I do enjoy trying to figure things like this out. It may take me a while but it is awesome when you do figure it out, at that point you knew you looked outside the box and found your answer.

Developing a Challenging Environment for Children

Developing a Challenging Environment for Children Noshaba Jadoon Q1: Explain how to organise a safe but challenging environment for children? The environment plays a major role in supporting children’s learning and development. While organizing a safe and challenging environment for children following factor should be consider: Health and safety; First and most important factor while setting environment to be considered is the health and safety of the environment, for health and safety the EY statutory frame work provides regulation. These regulations must be following while setting the environment. Curriculum and layout of the room; It includes role play area, a PC area, literacy and numeracy area, reading area, messy play area. Material objects; Material objects consist of all toys and resources that are used for children. Material objects that are used for children must be suitable for their age and stage of development. 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Three to five: Children’s imaginations and bodies control develop in this age group, and role-play areas can help children to take on different roles. For example, an area of the room can be transformed into a scenario for the children to play and explore, like post office ,fruits and vegetable shops, kitchen ,car park area etc. The outdoor environment provides equal opportunities for learning and development. Advantages of outdoor playing result into promotion of healthy lifestyles, as they get the chance to exercise, run around, climb on and off equipment, jumping, balance, learn about their body and exert energy, also develop socially, intellectually, physically, emotionally by making friends, sharing with them and taking care of them. Children begin to learn how to take care of other children. Therefore resources and toys that are used for children must be suitable for their age and stage of development. According to EY, Outdoor play opportunities also depend on children age: 0-12 months Outdoor environment provides fresh air, more exploring and practising physical skills. Due to limited mobility in this age group practitioner can take soft play mats and resources. 12-24 months As this age group children are more mobile so equipment such as slides, climbing frames and ride on toys will help children to develop their physical skills. Practitioner should encourage children to get responsibility of environment around them, for example plants and flowers. Children can take part in planting fruit and vegetable seeds and get responsibility to take of them. 24-36months Children should continue to be given responsibility about their environment, growing their own seeds of fruit and vegetables and taking care of them by watering plants and seeds. As physical skills and body control increase therefore toys that involve balance of the body should introduce to help them to refine their skills, like scoters or larger frames. Children should be encourage to investigate objects that how they are work. 36-60 months Children in this age group have good body control and refine skills, so opportunities for climbing, running, jumping and balancing of their body should be continue. As physical skills and body control increase there for toys that involve balance of the body should introduce to help them to refine their skills, like scoters or larger frames. Children should be encourage to investigate objects that how they are work. Social and emotional environment; The emotional environment extends to the feelings and emotions of the children. When children are able to express their feeling they are more confident to explore and investigate. Practitioners should give them chance to talk and express their feelings. Children belong to wider social network like ethnicity, religions and family history or back ground skins colour, practitioner should recognise the importance of the values and give them respect. It is responsibility of practitioner to help children to understand about different cultures and religions. Therefore social and emotional environment mean value and respect for everyone, regardless of their ethnicity, religion, skin colure, family back ground etc. Q2: Explain the practitioners’ role within the wider, multi-agency environment. If practitioner has any concern about any area of child’s development, or it is believed that child requires additional support then other professional can be involved as a source of advice for welfare of children and their families. Providing early help is more effective in promoting the welfare of children. Early help means providing support as soon as problems arise or identified, therefore key worker will help to identified children and their families who can get benefit from early help. Following professionals can be involved with in early years setting: 1: General practitioner, when child is ill 2: Health visitor. They support children and their families from birth to five. They provide health and lifestyle support to parents. 3: Paediatiatrician. They support children and their families from 24 weeks of pregnancy to18 years, especially when a child is diagnosed with disability or illness. 4: Social worker provides help, support and safe guarding of the children. 5: Dentist provide care for children teeth 6: Physiotherapist support children motor skills and mobility. They provide specialised care for children with disabilities etc. 7: Speech and language therapist provide information for effective communication. 8: Emergency services it include police officer, fire fighters ,paramedics may visit school time to time to help children understand about these services. The practitioner will play an important role within this team to support and following care plans set out by other professionals and attending regular meeting to discuss the progress of child. Q3: Describe the regulatory requirements that must be followed when organising an environment. Laws and legislation The health and safety at work Act 1974 provides guidelines that protect everyone within the workplace. However health and safety implementation is over all responsibility of employer. Practitioners are also responsible for ensuring health and safety with in the workplace is observed. For health and safety the EY statutory frame work provides regulation these regulation must be follow while organizing the environment. Staff ratios and qualifications; The EY Sets out the minimum requirement for staff ratios and qualifications. Failure to meet this requirement could cause an accidents or injuries because it is difficult for staff members to care for and supervise a large number of the group. Well trained and qualified staff that work well as a team is required for best possible care of the children. Size of the room; The EY also sets out minimum requirement for space depending on the age of children that is how many children can be present in any one room at one time and number of the staff to ensure the safety of the children. Children under two Children from birth to two years require 3.5 square meter per child. For every three children, there must be at least one member of staff. At least one practitioner must be qualified to a recognised level three childcare qualification and be experienced in working with babies and children under two. At least half of the remaining staff members must be qualified to at least a recognised, level two childcare qualification. At least half of the staff members must have training specifically for working with babies and young children below the age of two. Children under two to three Children of this age group require 2.3 square meter space per children One member of staff for 8 children One practitioner must be qualified to level three. Half of remaining staff members must be qualified to level two. Children aged three to five They required 2.3 square meter space per child One member of staff for 8 children One practitioner must be qualified to level three. Half of remaining staff members must be qualified to level two. Q4: Evaluate how effective the environment is in meeting children’s needs Playing is one of the effective ways of teaching. Children learn through play and exploring their environment. Effective environment plays vital role in meeting individual age group children needs. According to (EY Development Matters document) ‘children learn and develop well in enabling environment, in which their experiences respond to their individual needs and is a strong partnership between practitioner and parents and carers’. The early years foundation stage (EYFS) requires early year’s practitioner to review children progress and share a summary with parents or career. It also can be used as a guide about whether a child is showing typical development for their age or any delay or ahead for their age. According to statutory frame work for the early years foundation stage (EYFS) ‘children develop and learn in different ways and at different rates’. Practitioner must consider the individual needs, interest, and stage of development of each child. There are seven areas of learning and development: Communication and language: emphases to speak and listen in a range of situation and express themselves with confidence and skill. Children follow instructions. They can use past, present, future forms accurately when talking about events that have happened or going to be happened in future. Physical development involves moving and handling. Children should show good control and co-ordination in large and small movements. They can handle equipment’s and tools effectively including pencil for writing. Personal, social and emotional development helps children to develop a positive sense of themselves and others. They learn how to develop social skills, they play co-operatively taking turns with each other, they show sensitivity to other’s needs and felling, form positive relationship with adults and other children. They learn how to manage their own feelings. The can manage their own basic hygiene and personal needs including dressing and going to toilets independently and to have self-confidence and self-awareness. Literacy, they are able to link sound and letters and to begin read and write. Mathematics, they improve their skills in counting, they can count up to twenty, they can do simple addition and subtraction, and able to recognized shapes. Understanding the world, Arts and design should involve providing opportunities to share their thought, concepts and feeling through a variety of ways in art music dance role-play.

Developing Trust and Cohesiveness in Multidisciplinary Team

Developing Trust and Cohesiveness in Multidisciplinary Team XNB172 Nutrition and Physical Activity Assessment item number 1 – Case Study Part B Reflection Template Team Strength Identified: High Level of Cohesion, Communication Trust Team weakness identified: Lack of Goals Collaboration References Andersson, T., Liff, R. (2012). Multiprofessional cooperation and accountability pressures.Public Management Review,14(6), 835-855. Atwal, A., Jones, M. (2007).The importance of the multidisciplinary team. British Journal of Healthcare Assistants,1(9), 425-428. Bernthal, P., Insko, C. (1993). Cohesiveness without groupthink: The interactive effects of social and task cohesion. Group Organization Management, 18(1), 66-87. doi:10.1177/1059601193181005 Ellis, P. M. (2012). The importance of multidisciplinary team management of patients with non-small-cell lung cancer. Current Oncology (Toronto, Ont.),19(Suppl 1), S7-S15. doi:10.3747/co.19.1069 Erdem, F. (2003). Optimal trust and teamwork: From groupthink to teamthink. Work Study, 52(4/5), 229. Greene, C. (1989). Cohesion and productivity in work groups. Small Group Behavior, 20(1), 70-86. Kleingeld, A., van Mierlo, H., Arends, L. (2011). The effect of goal setting on group performance: A meta-analysis.The Journal of Applied Psychology,96(6), 1289. Melis, A. P., Tomasello, M. (2013). Chimpanzees (pan troglodytes) strategic helping in a collaborative task.Biology Letters,9(2), 20130009. doi:10.1098/rsbl.2013.0009 Nahrgang, J., DeRue, S., Hollenbeck, J., Spitzmuller, M., Jundt, D., Ilgen, D. (2013). Goal setting in teams: The impact of learning and performance goals on process and performance.Organizational Behavior and Human Decision Processes,122(1), 12-21. doi:10.1016/j.obhdp.2013.03.008 Offermann, L. R., Rosh, L. (2012). Too close for comfort?: Distinguishing between team intimacy and team cohesion. Human Resource Management Review,22(2), 116-127. doi:10.1016/j.hrmr.2011.11.004 Vosmer, S. (2012). The usefulness of group analysis in the conceptualization and treatment of ‘Personality disorders’ and ‘Complex/Post-traumatic stress disorder’.Group Analysis,45(4), 498-514. doi:10.1177/0533316412462526 Weinstein, B. (2003). Conduct successful team meetings.Chemical Engineering Progress,99(11), 71. Appendix (Reference: Southern Cross University Division of Teaching and Learning (2013) Southern Cross University Teamwork Guide. Downloaded from scu.edu.au/teachinglearning/download.php?doc_id=12945 on 18th February 2014) 1 Claudia AmouzandehSemester 1 2014

Solutions to Global Warming Essay -- Environmental Global Climate Chan

Solutions to Global Warming Scientists report that global warming has been escalating since the Industrial Revolution. Governments are trying to reduce carbon-dioxide emissions. With the speed of destruction of Earth?fs ecosystem, the survival of many species, including human beings, is threatened. In order to solve this danger, we have to reduce the consumption of energy and use the alternative energy resources. If we calculate the present energy price, alternative energy must be more expensive than fossil fuels. However if we consider the negative price which is caused by global warming, this result might be different. Now I would like to propose some solutions: (1) reduce the use of fossil fuels; (2) find alternative energy resources; (3) recycle usable resources; (4) planting trees to help combat global warming. I will explain these solutions in more detail. (1) Reduce the use of fossil fuels Global warming is regarded as being a result of the greenhouse effect, which in turn is caused by carbon dioxide emissions. Petroleum and coal are major sources of carbon-dioxide emissions. What would happen if we conserved these energy sources? The volume of carbon-dioxide emissions surely would decrease. But how? In summer and winter, we use electricity to cool our houses or provide heat. Turn down the temperature in winter and turn up the temperature in summer. Do you drive? Why not use the existing public transportation? These subtle things will reduce the use of fossi...

A Tragedy Makes A Hero Essay -- essays papers

A Tragedy Makes A Hero Show me a hero and I will write you a tragedy. A tragedy can be described and executed in many ways, whether it is through cinema, television or a play for theatre, as long as it has a solemn kind of ending. It is characterized as a very sad event, action, or experience for a certain character in the piece. According to Aristotle’s â€Å"Poetics,† a tragedy needs six elements, a plot, character, language, thought, spectacle, and melody, as in many dramas do, but the organization of the plot is how tragedy is brought about. (747) The plot – is the end for which a tragedy exists, and the end or purpose is the most important thing of all. (748) Tragedy often reveals a very basic message; whether or not actions are thought before hand, actions hold consequences that must be recognized and tolerated. Drama always circulates around a hero or protagonist in a tragic epic, whose sufferings are brought about by his or her actions and creates a standpoint in relation to them. The story of â€Å"Medea† by Euripides is a tragic one indeed. Medea, a sorceress and a princess, used her powers and influence to help Jason, find the Golden Fleece. During the escape she kills her brother as a getaway. After several murders, Medea and Jason move to Corinth, which is where the play takes place. Here, Medea gives birth to two children by Jason establishing a family. Jason later moves out, divorcing Medea and moving in with Glauce, the daughter of Creon. The play looks at Medea’s anger and rage, as a she moves from suicidal to revengeful. Medea eventually kills her own children and Glauce, all to get back at Jason. The nurse in the play opens the play, expressing her desire to undo the past. â€Å"How I wi... ... Once Creon has found out about the family tree, Oedipus and his children are banished from Thebes, later to meet their fate in the following plays. A tragedy does indeed make a hero in ancient world literature. Every single being has a fate, no matter what level of society that being is on. One cannot change his or her fate; it is left up to the gods. Eventually all roads of life leads to death, it is how that being dies brings about the tragedy. As Aristotle mentioned in â€Å"Poetics†, What is more, without action there could not be a tragedy, but there could be without characterization. Bibliography: Works Cited Aristotle. â€Å"Poetics.† Lawall and Mack 746-750 Euripides. â€Å"Medea.† Lawall and Mack 640-672 Lawall, Sarah and Mack, Maynard, eds. The Norton Anthology World Masterpieces. 7th ed. Vol 1. New York: W ·W · Norton & Company, 1999.

Oryx and Crake Summary

In Orgy and Crake Margaret Atwood highlights this ethical issue through the lives of characters directly involved in this business to show that impasses both in the novel and in today's society use poor and desperate people to further their businesses and turn a profit. Tattoo's novel focuses on a community dominated by bio engineering and genetic sciences in a time where restrictions on what companies could do with technology are limited.The main character Jimmy and the important figures in his life (his parents, Crake, Orgy, etc) live in a society where their comfortable lifestyles are only possible through the revenue they make off of the biomedicine developments they make. Atwood uses the desires of people like Jimmy who live in the engineering compounds, and the desperate conditions of the poor inhabitants in the slums, known as the planeloads. At the end of the novel, Atwood creates a catastrophic apocalypse stemming directly from a disease created by a company distributed to t he plebes, who were eager to receive what they thought was a life changing medicine.Atwood uses this to illustrate issues that are prevalent in modern society. In both modern times and in Tattoo's novel the upper-class takes advantage of the lower-class' desperation for a better lifestyle to make a profit and continue to live their ivies comfortably at the expense of others. Atwood uses the way companies in the novel manipulate and take advantage of the lower-class to draw a parallel to today's society. In the novel the first example shown of economic manipulation is through an argument Jimmy's parents have over the ethics of the recent breakthrough in drug advancements.In this excerpt, Jimmy's father comes home celebrating advancements in genetic engineering at his company, but his mother refuses to celebrate as she sees this as â€Å"yet another way to rip off a bunch of desperate people. â€Å"(Atwood 26) As the argument regresses Jimmy's father maintains the argument that the new technology being created gives people hope a. Jimmy's mother relays that it gives hope â€Å"At Nonskid' prices it is. You hype your wares and take all their money and then they run out of cash, and it's no more treatments for them. They can rot as far as you and your pals are concerned†¦ Make] life better for people -? not just people with money' (26). In this passage Atwood uses Jimmy's parents and the false hope companies' products like â€Å"Nonskid† give to represent companies and people, profit and generosity and the struggle between aging money and helping others. This reveals an issue that concerns not only the characters in the novel, but also people today. The way companies rip off â€Å"a bunch of desperate people† is seen today with businesses that take their drugs overseas to take advantage of desperate people in need of a miracle, and instead test their products on them for half the cost and little consequence.In an article called â€Å"Drug Te sting Goes Offshore† in Fortune Magazine, Abraham Illustrate states that â€Å"nearly 40% of all clinical trials are now conducted in poorer countries such as Russia and India, where costs are rower and patients more vulnerable. â€Å"(Fortune) This parallels the disparity shown in the novel where Jimmy's father and the company he works for uses the poorer people in the â€Å"planeloads† to test their products on to do the same principles of low cost and vulnerability.Additionally the article reveals that â€Å"The very business model that summons drug companies to those places also risks exploiting the vulnerability of foreign patients–they are eager to sign up because they lack a viable alternative and tend to have blind faith in medicine,† (Fortune) showing how truly desperate the patients are and easily impasses in both the novel and today's society are able to take advantage of that as a business opportunity rather than a chance to help others.The a rticle also shows how the companies make individual profit by explaining that â€Å"trials investigators in Russia can make ten times his salary by recruiting his patients into studies,† (Fortune) and also tells how â€Å"Patients in SST. Petersburg told stories about bribing doctors, passing on a few dollars to ensure they would get a repeat visit or admission to a clinic† (Fortune). Atwood uses products like â€Å"Nonskid† and the arguments Jimmy's parents make to present the same involvement companies in modern society use the same form of manipulation to make money instead of helping the people they deceive to grow financially.Atwood also shows another side to the company's forms of manipulation through a controversial statement Jimmy's friend Crake makes about how companies are always able to create new drugs for a seemingly increasing amount of new diseases. In this passages Jimmy asks â€Å"But don't they keep discovering new diseases? â€Å"(Atwood 1 2 6) In which Crake replies â€Å"Not discovering, they're creating them†¦ [they insert] a hostile oviform started in he plebe population†¦ [and] it more or less runs itself.Naturally they develop the antidotes at the same time as they're customizing the bugs, but they hold those in reserve, they practice the economics of scarcity, so they're guaranteed high profits† (Atwood 126). This radical business concept mirrors the same tactics of manipulation seen previously with deception of the â€Å"plebes† and the immediate advantage taken in finding a way to make money off of them. But even in the novel this concept seems to manipulative and far- fetched to be believable, or relatable to modern society.However the concept of â€Å"disease mongering' or the creation of diseases to convince people to buy products to cure them is more prevalent in society than expected. In the British Journal of Nursing and article called â€Å"Marketing disease: is osteoporosis an example of ‘disease mongering? ‘ this concept is explored in a disease that is more or less excepted as an accurate condition that people need drugs for. In the article it explains that: â€Å"Osteoporosis is often described as a disease, yet the symptoms are imperceptible and reliable diagnostic criteria have not been formulated†¦ E manufacture of ‘lifestyle' drugs has been costly without significant improvement in mortality or morbidity. The influence of the medical profession and large drug manufacturers is [and] the manufacture of illness is [shows] there may be significant risks attached to treating non-existent diseases† (BBC). This shows that not are there diseases that are believed to be problematic and prevalent, but that companies are in fact making them up and furthermore using them to make money by selling treatments that could even be harmful to the consumer.This was shown as he case with â€Å"hormone replacement therapy, which resulted i n the unnecessary deaths of thousands of women,† (BBC) revealing that as long as there are people desperate enough to seek relief to their ailments, companies will take advantage of that for personal gain whether it leads to hurting people and in this previous case, even death. Here Atwood shows that the evil and deceitful actions taken by the fictional characters in the novel share a striking parallel with the companies in today's drug market.Although it is easy to take away from these examples that there are manipulative people in today's society as well as in Tattoo's novel, Atwood encourages that a further step is taken with this. These examples of disparity in the ethics of drug companies not only reflects the looming threat of big scary companies always out to get people, but reflects how as a population, people are ready to throw themselves at whatever drug comes their way as their miracle.Atwood pushes the realization that people aren't safe just because they're not im poverished or seeking free medical care, but that even the wealthy and the everyday individual in modern society are vulnerable to this manipulation. It is unfortunate that today the dream of living a life with good health and medical protection for families is used to support an already wealthy society that continues to flourish while the poor are left to depravity. Although companies use the lure of low prices and free trials to continue their lives of leisure, the victims pay an even larger price than anticipated.A shown in the novel and the articles, many pay with being worse off than before and even death. The price people pay for these â€Å"miracle pills† and a chance to enjoy a better way of life can't be valued, however companies still make a refit off of the hardships of the destitute and despairing. This lack of empathy and simple decency is the foundation that breeds the inhumane suffering of others and, as Atwood illustrates, can lead to the same catastrophic dow nfall constructed in her novel.

A Zipped World

The modern world is filled with conveniences that people do not completely appreciate. There are numerous practical inventions, products of exceptional ingenuity and intelligence which do not receive enough acknowledgements from the public. People usually take these items for granted and fail to recognize their contribution in making life a little easier. An example of these scientifically engineered devices is the zipper. Everyone encounters this simple item in their daily environment, but people often unconsciously neglect its existence. A prototype of the zipper was first introduced during the 1800s by a man named Elias Howe. Back then, the zipper gained little acceptance and minimal commercial value. But throughout the years, this useful locking device was given more attention and finally became a staple garment fastener during the 1930s (Bellis, 2008, paragraph 2). This shows that people have long ignored the potential of the zipper in greatly impacting clothing, shoe, and other industries. Zippers are used in fastening trousers, jackets, boots, and luggage as they can open with considerable speed and efficiency, relative to the traditional buttons. Zippers are most associated with jeans as denim companies have adopted this device in their clothing and have gained much popularity with it (Bellis, 2008, paragraph 8). In this independent world, self reliance is highly needed. This is one of the primary considerations that manufacturing companies take in developing their merchandise. The zipper allows children to dress themselves up with ease. Handicapped individuals also benefit from zippers as they require minimal effort in clasping and opening (Bellis, 2008, paragraph 7). The zipper has revolutionized human clothing and has answered much of customer demands. It is regularly seen in individuals, disguising themselves in simplicity. But its development is far from simple, and people must never underestimate how greatly the zipper has improved the world.

Survival Guide Hari Raya

Personal Trainer & Nutritionist have been a personal trainer and nutritionist for over 6 years. I got my certification from A. F. T. A in the USA Speaker conduct various health and corporate wellness seminars. Some of my clients include Nestle, Node's, Bank Engage, Patrons Malaysia, Bursa Malaysia and other clients in both the private and public sector TV Host am a regular TV guest on various talk shows discussing health, diet, nutrition and other wellness topics. Brand Ambassador As part of my job, have been fortunate to represent brands such as Aids, Nestle and Fitness Concept.Web Entrepreneur love the web. We launched Cooked. Com, a Malaysian calorie database, eBooks and are very active in providing tips on our website – Shakespearian. Com, Backbone and Twitter Shakespearian. Com 0 201 0 4 WEIGHT LOSS FAQ Shakespearian. Com 0 201 0 General Hair Array FAQ 5 Before share my 20 hair array weight loss survival tips, lets look at some general FAQ How much to eat during array? To tally up to you but try to follow some of the 20 tips I am going to share with you Nina bit. Will you gain weight over hair array? Most probably. Its opposite to Ramadan.Where 90% lose weight during Ramadan, 90% of you will gain weight during the first few days of seawall. All I can say is that it is K to indulge and reward yourself after a long month of fasting. But, don't worry. Your goal this array should be to minimize weight gain! If you have lost egg during pupas, keep weight gain below egg. But how can I lose weight during hair array? Yes, you don't want to be in the 90% group. In fact, everyone who reads and understands my eBooks should be in the 10% â€Å"l am going to lose weight this array† group. K there are two parts to this: ; First 10 days: These are the hardest as festivities are at their peak and everyone is in the leaps germ mode. During this period, your AOL (if any) should be to minimize weight gain. ; Last 20 days: Again since open houses are mostly limit ed to the weekends, you MUST make sure that your week days are as healthy as possible. If you have 5 good days and 2 bad days, you should be K. Get back on track! So in combination, to lose weight over the 30 days of array, make sure your exercise & diet routine get back on track, especially during weekdays as weekends are filled with tempting open houses.Make me proud! Should you exercise during array? Totally up to you but not very convenient when you are on the road and everyone else is indulging In Megan and shakeups. So for me, I don't exercise during the first week. Once I return to work, it is a good time to restart my exercise program. That said, there is no need to reward your self for 30 days. 10 crazy days and 20 healthy eating days is fine with me. Can start the â€Å"How to lose egg in seeks† program during array? Yup, but would advice you NOT to start it until you are back into your normal routine.The â€Å"How to lose egg in 5 weeks† program requires you to have control over your day. When you Bali camping or are in the midst of hair array, you probably lose control! But hey, if you feel you are ready and motivated, oh can get started anywhere, any time! Any guidelines before I start to exercise again? If you have not been exercising throughout Ramadan (like me), you can't continue where you left off. The lack of exercise during Ramadan has affected your strength and cardiovascular fitness. Here are some guidelines to help you get back on track: ; Start slow!Keep the intensity within moderate levels. ; Make sure to eat your pre and post exercise meals (a must for weight training) ; Pace yourself. It will time to rebuild your fitness and strength. ; your body. If you can't cope, stop. You don't want to get injured now, do you? Arrival Guide: 20 Hair Array Tips to Keep That weight Off Listen to 6 20 HAIR ARRAY TIPS TO KEEP THAT WEIGHT OFF! Celebrate Array! Don't be one of those people who bring you. Hair array is a celebration. A rew ard for all the fasting you have committed yourself to for 30 days. Reward yourself.Its K to let go for a few days. 7 Yes, the first few days are special and all the great food is just too tempting but hey, after a few days its time to head back to reality and keep your intake in check. My advice, take it easy. Pace yourself. 8 Do you know how many calories are in leman, longing or all those shih-Mimi? It takes 20 minutes Eat slowly. It takes about 20 minutes for you to feel full. Never start with desserts! Always start with a proper meal. Go for rice, meats, vegetables or whatever makes up a balanced meal. 9 â€Å"Stretch† Your Buffet.Opposed to a served meal, buffets allow you to control your portions and choices BUT some relative will nag you for not eating enough or making enough â€Å"rounds†. My tip: Take small portions and frequent trips. This gives people the impression that you are eating a lot. 10 Never start with desserts. They are packed with sugars and fat s. If you want desserts, reduce the calories from your main course. Milk before you hit the road. What? More food? Well yes and no. During this festivity, most of you will be hitting the road when visiting friends and family but with all the traffic & delays, its important to keep your hunger in check.A quick glass of low-fat milk (or any other balanced snack) before you leave home keeps your cravings in check. This helps you to avoid unnecessary calories. Know your r ay calories. If you are serious about keeping your array weight gain in check, make sure that you are aware of all your array-food calories. Well you should! Otherwise, you lose control over your weight. How many cookies do you need? Ah yes, the humiliation cookies or biscuit array. They are everywhere you go and loaded with sugar (calories). Do the math: Lets say an average cookies packs some 35 calories.If you eat 10 cookies per open house and visit xx houses per day, that works out to be a whooping 21 ,OOH calories or 2. Egg! How to reward? By enjoying all the delicious leman, rending and other yummy but know your limits. You don't need 30 day of feasting! Yes idolatry is 30 days long but that doesn't mean you have to eat-all-you-can every single day. Stick to 10 vs. 20 days. If you need to indulge in array food and o all out, stick to 10 out of the 30 days of seawall. Example: First 2 days of array + weekends. Its K to say â€Å"No†. As a guest, we always feel obligated to well eat.